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Federal President Frank Walter Steinmeier at an Honorary Degree Ceremony at the Lebanese University on 30 January 2018 in Beirut, Lebanon
The speech online: www.bundespraesident.de page 1 to 7 Federal President Frank Walter Steinmeier at an honorary degree ceremony at the Lebanese University on 30 January 2018 in Beirut, Lebanon I would first like to thank you most sincerely for the great honour that it is to be awarded an honorary doctorate. And I am delighted to be able to address you on this occasion today. As some of you may know, this is not my first visit to your beautiful country. If I am not mistaken, then this is the seventh time that I have visited your city in a range of different capacities. However, I have been told that no German head of state has been to Lebanon for 120 years. And therefore I am especially pleased that this visit, which is my first as Federal President, constitutes another premiere. I associate Beirut with another “first”, a moment that is deeply etched in my memory. Back then – I had only been Foreign Minister for a short period of time – I learned that diplomacy and the quest for peace are not only a question of patient, often tough negotiations, but can also be about success. Tangible and visible success. I have clear memories of that moment during the war in 2006. On 7 September here in Beirut, I was standing with the then Prime Minister on the balcony of his residence. A little dot appeared on the horizon that came closer and closer. This dot increasingly took on the shape of an aircraft, which finally came in to land. -
Asmahan Presence and Distinctive Performance Style
A versatile singer renowned for her powerful voice, enchanting stage Asmahan presence and distinctive performance style. Amal Al-Atrash, (1912-1944), better known by her stage name Asmahan, was an exceptional Syrian-Egyptian singer and actor who rose to fame in Egypt in the 1930s and early 1940s. Born into a prominent family, she moved from Syria to Egypt with her mother and siblings due to political unrest. To earn a living, her mother, who had an excellent voice, began singing and playing the oud. She was a source of inspiration for Asmahan and her brother, Farid Al-Atrash, who also became a famous musician. Asmahan, like her mother, demonstrated vocal talent from an early age, and went on to sing songs written by DID YOU KNOW? renowned musicians in some of Egypt’s most important venues. Asmahan collaborated with the great artist Mohammed Abdel Wahab, Asmahan was a versatile singer celebrated singing one of his compositions for for her powerful voice, enchanting stage the Film Yawm Sa’id (Happy Day). presence and distinctive performance style. She was not only skilled in tarab, but she was also incredibly innovative. Her voice was FUN FACT regarded as one of the few in the Arab world at the time able to compete with renowned Asmahan and her brother Farid Al- Egyptian singer Umm Kulthum. Atrash starred in the successful 1941 film Intisar al-Shabab (The Triumph Despite her short life, Asmahan performed of Youth), in which they portray two and recorded several memorable songs young singers looking for fame in Egypt. composed by renowned musicians, including her brother Farid Al-Atrash. -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
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Document generated on 09/25/2021 12:27 a.m. Séquences La revue de cinéma Le temps qu’il reste Fragments identitaires Le temps qu’il reste — Grande-Bretagne / Italie / Belgique / France 2009, 109 minutes Janine Halbreich-Euvrard Number 263, November–December 2009 URI: https://id.erudit.org/iderudit/63356ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Halbreich-Euvrard, J. (2009). Review of [Le temps qu’il reste : fragments identitaires / Le temps qu’il reste — Grande-Bretagne / Italie / Belgique / France 2009, 109 minutes]. Séquences, (263), 33–33. Tous droits réservés © La revue Séquences Inc., 2009 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ HORS CHAMP | ARRÊT SUR IMAGE 33 Le temps qu’il reste Fragments identitaires Didier Stiers s’exclame : « Elia Suleiman parle volontiers de bénediction, il en est une lui aussi, ce dandy qui fait de la poésie avec l’absurde et le tragique... » Né à Nazareth (Galilée) en 1960, de parents arabes devenus citoyens israéliens après la création de l’État d’Israël, Suleiman est ce qu’on appelle un « Arabe israélien » ou Palestinien d’Israël, c’est-à-dire qu’il n’est ni réellement israélien, ni totalement palestinien…. -
Why They Died Civilian Casualties in Lebanon During the 2006 War
September 2007 Volume 19, No. 5(E) Why They Died Civilian Casualties in Lebanon during the 2006 War Map: Administrative Divisions of Lebanon .............................................................................1 Map: Southern Lebanon ....................................................................................................... 2 Map: Northern Lebanon ........................................................................................................ 3 I. Executive Summary ........................................................................................................... 4 Israeli Policies Contributing to the Civilian Death Toll ....................................................... 6 Hezbollah Conduct During the War .................................................................................. 14 Summary of Methodology and Errors Corrected ............................................................... 17 II. Recommendations........................................................................................................ 20 III. Methodology................................................................................................................ 23 IV. Legal Standards Applicable to the Conflict......................................................................31 A. Applicable International Law ....................................................................................... 31 B. Protections for Civilians and Civilian Objects ...............................................................33 -
Civil Marriage in Lebanon
Empowering Women or Dislodging Sectarianism?: Civil Marriage in Lebanon Sherifa Zuhurt In this article, I reflect on the proposed Lebanese civil marriage law, which initiated a political crisis in Lebanon in March of 1998 and was followed by an indefinite shelving of that proposed law. Many Westerners assume that women in today's Middle East passively submit to extreme male chauvinism and glaring legal inequalities. In fact, Middle Eastern women have been actively engaged in a quest for empowerment and equity through legal, educational, political, and workplace reforms for many decades, and through publication of their writings in some countries for over a century. Although women's rights were at stake in the proposed law, it is curious that many failed to perceive the connection between legal reform and women's empowerment. Those who understand this linkage only too well are the most frequent opponents of such legal reform, arguing that it will destroy the very fabric of society and its existing religious and social divisions. First, I will provide some information on the history of sectarianism (known as ta'ifzyya in Arabic) in Lebanon. The drama surrounding the proposed bill's debut will be followed by information on women's politically and socially transitional status in the country. I relate women's status to their inability to lobby effectively for such a reform. I will allude to similar or related regional reforms in the area of personal status in order to challenge the idea of Lebanon's exceptionalism. I then explore the politicized nature of the t Sherifa Zuhur holds a Ph.D. -
Emerging Infectious Diseases
Peer-Reviewed Journal Tracking and Analyzing Disease Trends pages 349-520 EDITOR-IN-CHIEF D. Peter Drotman Associate Editors EDITORIAL BOARD Paul Arguin, Atlanta, Georgia, USA Dennis Alexander, Addlestone, Surrey, UK Charles Ben Beard, Ft. Collins, Colorado, USA Timothy Barrett, Atlanta, Georgia, USA Ermias Belay, Atlanta, Georgia, USA Barry J. Beaty, Ft. Collins, Colorado, USA David Bell, Atlanta, Georgia, USA Martin J. Blaser, New York, New York, USA Sharon Bloom, Atlanta, GA, USA Christopher Braden, Atlanta, Georgia, USA Mary Brandt, Atlanta, Georgia, USA Arturo Casadevall, New York, New York, USA Corrie Brown, Athens, Georgia, USA Kenneth C. Castro, Atlanta, Georgia, USA Charles H. Calisher, Ft. Collins, Colorado, USA Louisa Chapman, Atlanta, Georgia, USA Michel Drancourt, Marseille, France Thomas Cleary, Houston, Texas, USA Paul V. Effler, Perth, Australia Vincent Deubel, Shanghai, China David Freedman, Birmingham, Alabama, USA Ed Eitzen, Washington, DC, USA Peter Gerner-Smidt, Atlanta, Georgia, USA Daniel Feikin, Baltimore, Maryland, USA Stephen Hadler, Atlanta, Georgia, USA Anthony Fiore, Atlanta, Georgia, USA Nina Marano, Nairobi, Kenya Kathleen Gensheimer, Cambridge, Massachusetts, USA Martin I. Meltzer, Atlanta, Georgia, USA Duane J. Gubler, Singapore David Morens, Bethesda, Maryland, USA Richard L. Guerrant, Charlottesville, Virginia, USA J. Glenn Morris, Gainesville, Florida, USA Scott Halstead, Arlington, Virginia, USA Patrice Nordmann, Fribourg, Switzerland Katrina Hedberg, Portland, Oregon, USA Tanja Popovic, Atlanta, Georgia, USA David L. Heymann, London, UK Didier Raoult, Marseille, France Charles King, Cleveland, Ohio, USA Pierre Rollin, Atlanta, Georgia, USA Keith Klugman, Seattle, Washington, USA Ronald M. Rosenberg, Fort Collins, Colorado, USA Takeshi Kurata, Tokyo, Japan Frank Sorvillo, Los Angeles, California, USA S.K. -
Aswat Zellerbach Hall (“Voices”)
Cal Performances Presents Program Tuesday, March 17, 2009, 8pm Aswat Zellerbach Hall (“Voices”) Aswat PROGRAM (“Voices”) Mohammad Abdel Wahhab (1907–1991) Fakkaruni Wadi’ Al-Safi (b. 1921) Jannat Al-Safi Weili Laou Yidrun Wahhab Sakana l-Layl Zakariyya Ahmad (1896–1961) Il Wardi Gamil Assi Rahbani (1923–1986) & Mansour Rahbani (1925–2009) Sahrit Hubb INTERMISSION Celebrating the Golden Age of Arab Music & Cinema Farid Al-Atrash (1915–1974) Kahramana starring Al-Atrash Layalil Unsi Fi Vienna Ibrahim Azzam Ahmad Ana Fi Intidharak Malleit Sonia M’barek Wahhab Ya Wardi Min Yishtirik Khalil Abonula Rima Khcheich Al-Atrash Ma ‘Alli w-‘Ultillu Wahhab Ya Di n-Na’im Simon Shaheen, director Presented in Association with the John F. Kennedy Center for the Performing Arts and the University Musical Society at the University of Michigan. Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. 4 CAL PERFORMANCES CAL PERFORMANCES 5 Program Notes Cast Aswat Repertoire The Aswat Orchestra Fakkaruni (“Remind Me”) This traditional Arab orchestra features virtuoso instrumentalists playing violins, ouds, double An instrumental arrangement of a vocal master- an instrumental dance performed in his filmAfrita bass, cello, nay, qanun (zither) and percussion under the direction of maestro Simon Shaheen, piece composed in 1966 by Mohammad Abdel Hanim (“Jinni”), produced in Egypt in 1949. It was recreating the sound of the Golden Age. Wahhab and sung by Egyptian diva Um Kulthum. composed for dancer and actress Samia Gamal, The song starts with a lengthy introduction and in- who played the main role next to Al-Atrash. Director, Violin Simon Shaheen cludes several interludes that link together to form a fantastic instrumental. -
Yasmine Hamdan
YASMINE HAMDAN © Nadim Asfar CONTACT PRESSE Amélie Rouyer [email protected] Charlotte Trogan [email protected] 22, rue de Montreuil 75011 Paris Tél. +33 1 53 27 90 10 www.seeside.fr YASMINE HAMDAN EN BREF... Auteur, compositeur et interprète, Yasmine Hamdan est née à Beyrouth. Elle passe une partie de sa vie entre les pays du Golf et la Grèce. De retour dans la capitale libanaise en 1990, elle y termine sa scolarité, entame des études de psychologie et obtient la licence en 1998. La même année, elle fonde avec Zeid Hamdan le duo Soapkills. Entre 1998 et 2005, Soapkills sort quatre albums dont un live. Yasmine arrive à Paris en 2002. Elle suit une maîtrise en Art du spectacle à la Sorbonne et entame des collabo- rations dans le cinéma avec les réalisateurs Elia Suleiman, Ghassan Salhab, Khalil Jreij et Joanna Hadjitouma, Danièle Arbid. Sa rencontre en 2005 avec Mirwaïs Ahmadzaï, producteur de musique électronique et notamment composi- teur de l’album Music de Madonna, donne naissance à Y.A.S. L’album Arabology sort en 2009 chez Universal Music. À PROPOS D’ELLE... « Il y a trois hivers de cela, Yasmine Hamdan était Y.A.S., duo ou plutôt point de rencontre entre sa culture à elle (dix ans à dominer depuis Beyrouth la scène underground arabe dont elle fût l’icône en tant que chanteuse au sein de Soapkills) et l’électropop de Mirwais. Plus qu’un projet, Y.A.S. était un symbole (musical, géopolitique, religieux, les perspectives ici ramassaient larges) : celui d’un possible pont entre deux mondes que les radios, les médias, les dancefloors, les oreilles, les mentalités celles des uns aussi bien que celles des autres, n’avaient jamais imaginé voir se rencontrer. -
Ramzi Salti, Ph
الدكتور رمزي سل ط .Ramzi Salti, Ph.D Stanford University [email protected] [email protected] Lecturer of Arabic, Stanford University Stanford Profile Page Host of Arabology Program, KZSU 90.1FM Linkedin.com/in/ramzisalti Published Author, Blogger, Public Speaker My Arabology Blog Phone: 650-862-6031 Arabology Podcasts Arabology on YouTube Channel EDUCATION: Ph.D. March 1997 Major: Comparative Literature (Area of specialization is Arabic Literature; secondary emphasis on Francophone literature, Post-Colonial theory) University of California, Riverside Riverside, California M.A. 1991 Major: Comparative Literature (Arabic, French, and English) University of California, Riverside Riverside, California B.A. 1988 Double Major: English & French Santa Clara University Santa Clara, California LANGUAGES: Arabic: Native speaker of classical Arabic and several colloquial dialects. English: Native speaker French: Native speaker (rated Superior by ACTFL) ACADEMIC EXPERIENCE & SERVICE: Full Time Lecturer, Arabic Program (1999-present): SLC, Division of Literatures, Cultures and Languages, Stanford University, Stanford, California 1. Taught a variety of courses in all levels of Arabic including Arabic Conversation, Colloquial Arabic at the Stanford Language Center for the past 21 years (2000-present). 2. Taught night classes in Arabic Language + Culture via Stanford’s Continuing Studies Program (2010-present). 3. Taught summer classes + workshops about “The History of Arabic Music” at Sijal Institute in Amman, Jordan (2019-present). 4. Taught 3-day workshops about Arabic Language, Culture and Music at Nueva School in San Mateo as part of their Intersession Annual Event (2018-2020) 2 SALTI 5. Organized/ Hosted/Moderated dozens of academic events at Stanford University. See separate section below. 6. Fully (Re)Certified ACTFL Oral + Written Proficiency Tester of Arabic (valid until 2021; 2023). -
Asmahan's Secrets: Art, Gender and Cultural Disputations by Sherifa Zuhur Ameican University of Cairo (AUC)
Asmahan's Secrets: Art, Gender and Cultural Disputations by Sherifa Zuhur Ameican University of Cairo (AUC) Asmahan, born Amal al-Atrash, of the Suwayda' branch of Ghusn. In this atmosphere, the young Farid and Asmahan the Druze al-Atrash clan of southern Syria, achieved fame in were encouraged to perform first in private and later in pub Arabic music and cinema from J 938 until her death in 1944. lic settings, the young man as an instrumentalist and Asmahan My general acquaintance with Asmahan dates from my late as a vocalist. She reportedly debuted at the Opera in a concert teenage years, when I went mad for Arabic music. I learned in 1931 and then began performing in the salon of Mary one of her songs in the early 1980s from a gifted musician, Mansur until her fledgling career was interrupted by a mar my friend Simon Shaheen - "Imta Hata' raf Imta". Later I riage with her cousin Hasan al-Atrash of Suwayda. began work on a paper on her first film, Intisar al-Shabab, which was an exploration of themes of social mobility. I She spent six years in Syria with Hasan, but returned to searched for funding to do a film version of her life in 1990 Egypt to give birth to her daughter Kamilia and resumed her and at that point began to notice discrepancies in the sources career which blossomed through performances of the com and certain aspects of her mystique that intrigued me. In positions of Muhammad al-Qasabji, Riyad al-Sunbati, 1993 and 19941 spent a Fulbright year on this project, inter Madhat 'Assim and eventually her brother Farid al-Atrash. -
Staging the Sublimation of Cliché: Elia Suleiman’S Silences in the Time That Remains (2009) Twice the Son Glances at His Mother, Who Gazes Fixedly at the Screen
Staging the I don’t get so close that you think: Sublimation “Oh my God; this is interesting.” of Cliché: I worked with a certain amount of [Palestinian] actors; some Elia Suleiman’s of them I did not enjoy very Silences in The Time much because they come from a very very severely overacting That Remains (2009) theatrical experience I cannot Tom Hill1 stand. Sometimes when they start to use their… expressions on their faces, I’m like, please… you know, then Palestine the cliché starts: we are victims or we are victors or… we always have to put some angry expression to say how our land was lost, which doesn’t work for me. As you see I don’t use it. A lot of the characters are movements within the frame, and I prefer the choreography, I prefer the musicality that comes from their appearances etc… it would be a lie to say that I directed them, so to speak… Elia Suleiman2 You gave no instructions save to forbid excessive interpretation… [to] beware of those who do not know what weariness is, who interpret too much. Mahmoud Darwish3 An elderly mother and her son sit wordless in a Nazareth living room, facing us. The television screen they are watching, which is never seen, spews the sounds of a raging battle, which neither receives nor seems to require any commentary. [ 78 ] Staging the Sublimation of Cliché: Elia Suleiman’s Silences in The Time That Remains (2009) Twice the son glances at his mother, who gazes fixedly at the screen.